美术学专业：《解剖学》课程书籍文献（课外）Vilppu绘画圣经——绘制人物 The VILPPU DRAWING MANUAL

The VILPPU DRAWING MANUAL BAS CRAWING Introduction t seems that there are at least which has no reference to reality." In general,art education is still two opposite points ofview In May of 1664,Gian Pietro split along these two basic lines of toward an ifnot more But Bellori,the classicist,delivereda thought.On the one hand,we before I go any farther.let me say talk at the Academy ofSan luca in have the prevailing approach to that I don't think one is right and Rome where he affirmed that the leaming drawing by using long the other is wrong.They are choiceofnatural beauties,which poses where the student learns to different and for the artist they was keenly made by the artist,is copy the model.Today we call each have theiruse and value superior to nature itself.Raphael, this the illustrative oracademic Simply put,the two points of view "the great master of those who approach.On the other hand,we are.on the one side."Art is the know,"is cited together with have a purely conceptual ap- imitation of nature,"and on the Bramante,Perugino,Giulio proach where the concept is the other,"Art is based on a Romano,and Michelangelo for overriding element in the drawing. concept of the ideal" their efforts to bring architecture Now what has this to do with back to"the elegant forms of teaching drawing for animation? “Art is the imitation ancient buildings."At the same A lot!I feel that drawing,as it is time there were complaints about practiced in the animation industry of nature or Art is the artists who were"abandoning today,most approximates classi- the study ofnature and had spoiled cal drawing in the tradition of based on a concept art with astyle leaning more on Raphael,DaVinci,Pontormo,and of the ideal.” tice and pure invention than on other great draftsman of the past. mitation ofnature."This is the The drawings of the past were argu ent that went on at the used primarily in planned stages In the 1500's Raphael stated. iples ofidea ofthe twentieth century toward the creation of paintings, in when the sculptures,and murals.As such. ost heauti- ful and p ments rei cted the work of the they were practical pragmatic ons of salons in favor of the basic abstract steps in representing ideas.The m a pur idea elements ofart. classical approach ofconstructing

The Vilppu DRAWING MANUAL BASIC FIGURE DRAWING forms in an effort to create the ideal visual communication.Ofcourse, perfect form,along with the desire there are those individuals who for clarity,transition,and ease of through an innate talent have understanding,are the same re- developed this ability ofcommuni- quirements of good animation cation in the same way that there drawing.The main difference is in are accomplished musicians who do the ideal ofthe form created. not read music. “Drawing from Alexander Marshack wasc imagination towards omedbyANASAn196o write a a conceptualized i油 Robert ideal is the norm in animation.” to pl on Drawing from the imagination towards a conceptualized ideal(the e con model sheet)is the norm inanima- tion.The drawing that we do from that one ofthe the model is research that helps us to better understand the human eq He us ses the form and its movements.Unlike ngam e p05 Rarely do we work from the model man to th en con except in training situations.One of ered as a wh but taken as a the primary requi sites in order to create is the ability to draw from enes of sma teps or prot ems,it omes possible.As each step is our imagination iinde and being able to create believable broken down into even smaller steps,the impossible becomes attitudes and movements.ie. bringing our characters to life with possible.The main element is the building ofone step upon the our acting.is the basis ofour art.a child,learning to speak.starts by previous in a time factored manner. mimicking the sounds that he hears and slowly develops the relation The pace ofleaming ofany given subiect afer the initialr ship ofsounds and meanings that we call speaking.This is unlike advancem ent se ward in nost training in drawing given todav that teaches to m imie nature withou an understanding of the elen

The Vilppu DRAWING MANUAL BASIC FIGURE DRAWING while the time between those steps keep each stepas simple,clear, seems to stretch out longer and and logical as possible.In fact, longer until we begin to wonder if many of the steps in my basic there is any movement at all. approach seem so simple and basic that quite often the studen tends to ignore developing these fundamental skills,feeling that he r hitti g the s an has advanced beyond them.My experience has shown me that the y majority ofstudents'problems in ding tha ach level of drawing are with the basic ele- ments.or tools ofour trade.If that must be abs ed you think ofall the possible visual elements that you must learn as vels of keys on a piano,the more keys op you have,the wider range of possibilities you can enjoy.Of course,you can make music with plex just a few keys,but that should be ere are based on choice not limitations. are OL Since the basic approach that wledge where we into effe not copy ust have the spirit to carryit .t outo completion use the wor “Each step being ause the broken down into approach apply to drawing even smaller steps, anything,be ita tree,interior,or figure.You cannot really draw the impossible be- comes possible.” ke.The more knowl- edge you have of whatever it is that you are drawing,the better The basis of my teaching is the off you will be development of an approach that allows you to acquire knowledge Anextremely importantelementof and visual skills in a systematic way, knowledge is that we must building upon yourunderstanding develop our ability to use ou and abilities in logical simple steps. Ihave made a real effort at trying to ortant skill is to be able to

The Vilppu DRAWING MANUAL BASIC FIGURE DRAWING communicate our feelings through our drawings and to draw upon our own emotional experiences at will.One ofmy favorite sayings is that you have to be emotiona about your intellect and inter lectual about your emotions. pro g is that th sult can to easi echani. al and boring fom ula.Ico ally have to ke toac瓷In the end.itis up You will findme stating over and over again,"there are no rules. just tools."Visual tools are fundamental concepts used not only to aide us in drawing but in seeing these in some cases consistofprocedures and in other cases.elements such as the box and sphere.A large part of this course is in fact the develop. ment of these tools. Iwill end this introduction with my favorite quote by an artist which exemplifies the pursuit ofexcel- lence in drawing that we can only hope to achieve

The Vilppu DRAWING MANUAL BASIC FIGURE DRAWING "From the age of six I had a mania for drawing the shapes of things.When I was fifty I had published a universe of designs.But all I have done before the age of seventy is not worth bothering with.At seventy five I have learned something of the pattern of nature,of animals,of plants.of trees,birds.fish and insects.When I am eighty you will see real progress.At ninety I shall have cut my way deeply into the mystery of life itself.At a hundred I shall be a marvelous artist.At a hundred and ten everythingI create,a dot,a line,will jump to life as never before.To all of you who are going to live as long as I do. I promise to keep my word.I am writing this in my old age.I used to call myself Hokosai.but today I sign my self"The Old Man Mad About Drawing."(The Drawings of Hokusai,"Introduction by Stephen Longstreet,Borden Publishing Co.)

The VILPPU BASIC FIGURE DRAWING MANUAL DRAWING Gesture “Gesture is the the action of the figure is single most impor- usually expressed as tant element in the "gesture".It means the movement and attitude of the drawing.' figure.It is body language andall of those subtle differences that experience in looking at real life. characterize individuals,be they technique.Later in this course,the the drawing is nothing more than human or animal.In this regard esture is combined with other an academic exercise.Long when I refer to the model.I mean visual learning tools to develop before we can actually see a not only a model posing for short drawings of longer duration with person's face,we can recognize poses of thirty seconds to three differentends in mind.The quick him by all those elements that minutes,but also people who are sketch uses some of these tools. make up that individual,such as not posing.and are in real life but its purpose is quitediferent. his ge eral bearing proportions situations weuse essentially the of his body.how he dresses.how same leaming procedure in what is referred to as the"quick When I say model,I mean not only he walks.and holds his head. sketch."It will be assumed that the model in the class but also those that you are drawing outside Iam going to present this material ofclass as"quick sketches."Other in a series of steps stopping to point,they are the sa terms used for what we call gesture explain and clarify points as Igo. re“attitude”and"body language. In reality,ofcourse,it is never The primary difference between Gesture is the single most important quite that neat or simple.Many of this lesson and aregularclass in element in the drawing.No matter the steps are actually done quick sketch is that we are only how well a drawing is rendered, simultaneously.The total isa applying the beginning steps of the without that feeling ofindividuality summation of the action in simple learning process for this particular that we terms and is essentially what this

The Vilppu DRAWING MANUAL BASIC FIGURE DRAWING lesson is about The illustrations The basic procedure. see You should do each drawing using the same series of steps until it becomes second nature to you in a "You are not only similar sense as how driving a car becomes almost automatic.Start learning to draw the drawing with simple lines that but to see.” take in the total action of the figure,without worrying about the shape.A simple sequence of steps nd the is indicated in the followingex- amples.Remember,there are no memory.When doing gesnut rules,just tools! hile yo Step One. ing Start with a simple oval for the head. shopping mall imagining a central axis so that the In looking at theaction,o oval ciearly represents the tilt and gesture,it is important to try to lean of your subject.Use a simple tore you put a "dot"on the top to indicate when the head is tilting toward you.and your subject and then drawing possibly an ellipse for the eyes to help show more clearly the action of is particularly useful when you the head. don't have your sketchbook with you(which shouldn't happen),or are in situations where it is awkward for one reason or another to be drawing.When drawing in your head,go through the same steps and use the same imaginary lines you would ifyou were drawing on paper.You draw with your mind,not your hand.Then when you can,redo the drawing on paper.With practice you will be amazed at what you can do,but it takes practice

The Vilppu DRAWING MANUAL BASIC FIGURE DRAWING “Gesture is the single most impor- tant element in the drawing.” Step Two. Draw a line from the head,repre senting the neck.This line is not necessarily any actual contour or line that you see on the model but a general feeling of the attitude of the model.Continue this line, representing the neck,pulling from the head,into the upper body down to the hips.You should be more concerned with the how the lines show the action of the model. rather than any actual line that vou see on the model.Look at the examples on this page to see the varietyofways that this can he accomplished.These are not the traditional stick figures that you se in many basic books on drawing. They are lines that show the flow ofthe movement and relationship of the parts in a simple way. Step Three. Continue in the same way,drawing the legs.Notice that all of the lines do not have to be connected. nember,"there are no rules iust tools.”Itisir tant to mher the si ple fact that wha the vi wer sees a

The Vilppu DRAWING MANUAL BASIC FIGURE DRAWING give asense of movement and continuity,you must draw n such a way as to have one line ead you into the next. Step Four. Now add the arms and hands in th same manner that we drew the legs.Again,they do not necessarily have to be attached but must indicate the movement and general placement. In practice.these steps should take a maximum of thi Continue this simple first step in feeling the form,then go a step further and start pushing outward with your lines."Feel"how forms contract and stretch,pinch and expand.Look at the sample drawings

The Vilppu DRAWING MANUAL BASIC FIGURE DRAWING The hardest part of this lesson is to overcome the desire to copy the model.Remember,we